yes Kate Bush radiates a special kind of femininity yes unapologetic yes and so assured and yes with such a grace a sensitive one yes but not fragile yes with weirdness yes that’s what makes it so unique and hers and yes she seems to know and feel her self her place in this world stepping through an artificial forest yes and the colours of change not confined to a bed yes and her movements always seem a bit off to me yes but that’s why they move me yes in a way that dancing usually rarely does and yes joyce wrote that it’s a female word yes so we shouldn’t be afraid when needed to also say No
For another archetypal woman dancing in a moonlit artificial forest see Kenneth Anger’s Rabbit’s Moon {1950/71}.
For another dancing Molly Bloom see Tabea Blumenschein in Werner Nekes’ Uliisses {1980/82}.
And for a beautiful artistic interpretation of Molly Bloom’s soliloquy as a an art book see Caroline Saltzwedel’s Mollys Dream.
When Kate Bush first released her own interpretation of the last part of Molly Bloom’s stream of consciousness in 1989, The Joyce Foundation didn’t allow her to use Joyce’s actual text so she made her own version of it. In 2011 though, for her album Director’s Cut, she was permitted to record the passage in its original version and titled it Flower of the Mountain.
KINOXIKON 